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Boston Symphony Orchestra Concert Programs, Season 76, 1956-1957

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Boston Symphony Orchestra Concert Programs, Season 76, 1956-1957 BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON SEVENTY-SIXTH SEASON *95 6 -*957 Carnegie Hall, New York TANGLEWOOD 1957 The Boston Symphony Orchestra CHARLES MUNCH, Music Director The Berkshire Festival Twentieth Season CHARLES MUNCH, Conductor The Berkshire Music Center Fifteenth Season CHARLES MUNCH, Director To receive further announcements, write to Festival Office, Symphony Hall, Boston Carnegie Hall, New York Seventy-First Season in New York SEVENTY-SIXTH SEASON, 1956-1957 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Fourth Concerts WEDNESDAY EVENING, February 6, at 8:45 SATURDAY AFTERNOON, February 9, at 2:30 with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Jacob J. Kaplan . Vice-President Richard C. Paine . Treasurer Talcott M. Banks, Jr. E. Morton Jennings, Jr. Theodore P. Ferris Michael T. Kelleher Alvan T. Fuller Palfrey Perkins Francis W. Hatch Charles H. Stockton Harold D. Hodgkinson Edward A. Taft C. D. Jackson Raymond S. Wilkins Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Thomas D. Perry, Jr., Manager G. W. Rector ^ Assistant J. J. Brosnahan, Assistant Treasurer N. S. Shirk ) Managers Rosario Mazzeo, Personnel Manager [1] Boston Symphony Orchestra (Seventy-sixth Season, 1956-1957) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin Joseph de Pasquale Sherman Walt Concert-master Jean Cauhape Ernst Panenka Alfred Krips Eugen Lehner Theodore Brewster Albert Bernard George Zazofsky Contra-Bassoon Rolland Tapley George Humphrey Richard Plaster Norbert Lauga Jerome Lipson Robert Karol Vladimir Resnikoff Horns Harry Dickson Reuben Green James Stagliano Gottfried Wilfinger Bernard Kadinoff Vincent Charles Yancich Einar Hansen Mauricci Harry Shapiro John Fiasca Joseph Leibovici Harold Meek Earl Hedberg Emil Kornsand Paul Keaney Roger Shermont Violoncellos Osbourne McConathy Minot Beale Samuel Mayes Herman Silberman Alfred Zighera Trumpets Stanley Benson Jacobus Langendoen Roger Voisin Leo Panasevich Mischa Nieland Marcel Lafosse Armando Ghitalla Karl Sheldon Rotenberg Zeise Gerard Goguen Fredy Ostrovsky Josef Zimbler Bernard Parronchi Trombones Clarence Knudson Martin Hoherman Pierre Mayer William Gibson Louis Berger Manuel Zung William Moyer Richard Kapuscinski Samuel Diamond Kauko Kahila Robert Ripley Josef Orosz Victor Manusevitch James Nagy Tuba Melvin Bryant Flutes K. Vinal Smith Lloyd Stonestreet Doriot Anthony Dwyer Saverio Messina James Pappoutsakis Harps Phillip Kaplan William Waterhouse Bernard Zighera William Marshall Piccolo Olivia Luetcke Leonard Moss George Madsen Jesse Ceci Timpani Oboes Noah Bielski Everett Firth Alfred Schneider Ralph Gomberg Harold Farberman Joseph Silverstein Jean Devergie Holmes John Percussion Basses English Horn Charles Smith Georges Moleux Louis Speyer Harold Thompson Arthur Press Gaston Dufresne Clarinets Irving Frankel Gino Cioffi Piano Henry Manuel Valerio Freeman Bernard Zighera Pasquale Henry Portnoi Cardillo Henri Girard E\) Clarinet Library John Barwicki Bass Clarinet Victor Alpert Rosario Mazzeo [*] SEVENTY-SIXTH SEASON • NINETEEN HUNDRED FIFTY-SIX AND FIFTY-SEVEN Seventy-First Season in New York Fourth Evening Concert WEDNESDAY, February 6 Program Smit Symphony No. 1 in E-flat I. Adagio; Allegro moderato II. Andante sostenuto III. Allegretto scherzando IV. Allegro vivace (First Performance in New York) Prokofieff Piano Concerto No. 2, in G minor, Op. 16 I. Andantino; Allegretto; Andantino II. Scherzo: Vivace III. Intermezzo: Allegro moderato IV. Finale: Allegro tempestoso INTERMISSION Beethoven Symphony No. 4, in B-flat major, Op. 60 I. Adagio; Allegro vivace II. Adagio III. Allegro vivace IV. Allegro, ma non troppo SOLOIST NICOLE HENRIOT Miss Henriot uses the Baldwin Piano Performances by this orchestra are broadcast each week on Monday evenings from 8:05 to 9:00 P.M. on the NBC Radio Network. Music of these programs is available at the Music Library, 58th Street Branch, the New York Public Library. BALDWIN PIANO RCA VICTOR RECORDS [3] SYMPHONY NO. 1, IN E-FLAT By Leo Smit Born in Philadelphia, January 12, 1921 Leo Smit tells us that the first idea for a symphony came to him in Rome in 1951 and that he completed the score in New York City in the summer of 1955. The Symphony was commissioned by the Koussevitzky Music Foundation for the occasion of the thirtieth anniversary of the League of Composers. It is dedi- cated to the memory of Serge and Natalie Koussevitzky. The following orchestra is required: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, timpani, and strings. 'TpHE following brief analysis of his Symphony has been provided -- by the composer: "The first movement begins with a slow introduction which contains much of the material developed in the main section. The second movement consists of a long theme, three variations and a short coda. The form of the third movement brings in the main section of the scherzo three times and the trio once [the traditional procedure with- out repetition of the trio]. It ends with a tiny coda of two measures. The finale is in sonata form." Leo Smit won a scholarship at the age of nine for the Curtis Institute of Music, where he studied piano with Mme. Isabelle Vengerova. He studied composition with Nicolas Nabokov. In 1950 he won a Fulbright Scholarship and a Guggenheim Fellowship and spent two years at the American Academy in Rome where, among other things, he composed his Overture, The Parcae. On October 31, 1952, Mr. Smit made his appearance as soloist with this Orchestra in the Piano Concerto of Alexei Haieff, which then had its first concert performance. Mr. Smit was later given the Horblit Award. This Concerto was performed by Mr. Smit in Paris in the summer of 1953 under the direction of Charles Munch, and at the subsequent festival in Venice. Mr. Smit's Overture The Parcae had its first performance October 16, 1953, at these concerts, when the composer also appeared as soloist in Aaron Copland's Piano Concerto. [copyrighted] Q& [4] PIANO CONCERTO NO. 2, in G minor, Op. 16 By Serge Prokofieff Born in Sontsovka, Russia, April 23, 1891; died near Moscow, March 4, 1953 Composed in 1912-1913, ProkofiefPs Second Concerto was first performed August 2 3> 1 9 1 3> at Pavlovsk (near St. Petersburg), Aslanov conducting, the composer playing the solo part. The score, according to Philip Hale, was lost "when his apartment was confiscated [requisitioned?] by the decree of the Soviet Government. Sketches of the piano part were saved. They were taken away by the composer's mother in 1921." It was from these sketches that the composer rewrote the Concerto at Etal in Bavaria in 1923. The revised version was performed in Paris, May 8, 1923, Koussevitzky conducting. Prokofieff was the soloist and performed it for the first time in the United States with this conductor at concerts of the Boston Sym- phony Orchestra in Boston, January 31, February 1, 1930. There was a performance at a Berkshire Festival concert, August 5, 1951, when Eleazar de Carvalho was the conductor and Jorge Bolet the soloist. TN 1913, Serge Prokofieff, still a student at the St. Petersburg Con- -* servatory, caused considerable commotion in musical circles by performing his Second Concerto at Pavlovsk. His First Concerto heard the year before had warned conservative listeners to expect from the brilliant young pianist (there was no denying his ability as a per- former) an unbridled onslaught upon traditional harmony. The Second Concerto sounded even bolder than the First. The critics of St. Petersburg must have considered the composer as newsworthy, if only from the point of view of scandal, for they seemed to have been present in Pavlovsk in force. Almost unanimously they attacked him. "The debut of this cubist and futurist," said the reviewer in the Petersburgskaya Gazeta, "has aroused universal interest. Already in the train to Pavlovsk one heard on all sides 'Prokofieff, Prokofieff, Prokofieff.' A new piano star! On the platform appears a lad with the face of a student from the Peterschule [a fashionable school]. He takes his seat at the piano and appears to be either dusting off the keys, or trying out notes with a sharp, dry touch. The audience does not know what to make of it. Some indignant murmurs are audible. One couple gets up and runs toward the exit. 'Such music is enough to drive you crazy!' is the general comment. The hall empties. The young artist ends his concerto with a relentlessly discordant combina- tion of brasses. The audience is scandalized. The majority hisses. With a mocking bow Prokofieff resumes his seat and plays an encore. The audience flees, with exclamations of: 'To the devil with all this futurist music! We came here for enjoyment. The cats on our roof make better music than this!' " Other Petersburg critics spoke of "a babble of insane sounds," a "musical mess." A lone voice was that of V. G. Karatygin who reported "The fact that the public hissed means nothing. Ten years from now it will atone for last night's catcalls by unanimous applause for this new composer."* * These reviews are quoted by Israel V. Nestyev, Serge Prokofieff, His Musical Life. [5] Unless the revision of 1923 is radically different from the original version, which is unlikely, it is hard to recognize the Concerto in the epithets which were hurled at it by the early critics. The "babel of insane sounds" is in reality a clear, lightly scored and delicately wrought piece, mostly in elementary common time, with an elementary bass and a lyric piano part, varied by pianistic embellishment. What apparently disturbed its hidebound hearers were the then unaccus- tomed melodic skips and occasional untraditional harmonies, the very characteristics which were later found fresh, piquant, and often entirely charming, the exclusive outcome of this composer's special fantasy in lyricism.
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